The first run was at the Penthouse (Gotham) and the R rated wide release was at Loews State and Movieland Yonkers. Hollywood, were you in Yonkers around 1981?
I do remember those marquees being quite large but then I was also smaller then. I know what Harvey means about things looking smaller as you get older. Since each title letter was about a foot tall with extra copy about half that and a blank row in between, that should give you some perpective.
They were able to fit wording that mentioned taglines, stars, and air conditioning so I guess they were huge by today’s standards. I seem to recall the 27th Ave and the Golden Glades Twin drive-in being very dramatic.
Stage, this would have been either Wynwood or Allapattah, most likely the latter. I show the Strand closed in the mid fifties and may served a blak community displaced by 1-95 eminient domain.
Going back to my post of April 19, 2006, there was an Avenue A theatre on 51 Avenue A already showing movies by 1918 and still going in 1923. I propose either there were two Avenue A theatres or the Hollywood and the Avenue A were not the same.
My understanding is that as distributors starting buying stakes back into exhibition in the early 80’s the government looked the other way and the Reagan administration eventually eliminated any remaining constraints for vertical integration in the entertainment business, making the Viacoms and Time Warners of the world possible.
I have seen AN INCONVENIENT TRUTH. It has an important message but I don’t think it is a particularly good film. As a visual educator and entertainment medium, HAPPY FEET did a much better job in sending the same message.
The Oscars should be about good filmmaking, not content. Movie history is littered with politically incorrect films, some good, some not so good. The Oscars have been quite good at rewarding good filmmaking even when the film was not politically balanced for the times. This has resulted in controversy over films such as THE DEER HUNTER, HEARTS AND MINDS, MIDNIGHT COWBOY, JULIA and FAHRENHEIT 911 which upset many in their day but were rewarded anyway.
I am sure many veterans of the Great War found ALL QUIET ON THE WESTERN FRONT as offensive as some will find LETTERS FROM IWO JIMA. I personally recall the outrage every time Jane Fonda or Venessa Redgrave were rightfully rewarded regardless of their personal endeavors.
Wasn’t ALL QUIET ON THE WESTERN FRONT about the poor German soldiers getting a beating in WWI?
Was THE DEER HUNTER a good message to send Vietnam veterans?
Weren’t GIGI, MY FAIR LADY, THE APARTMENT and TOM JONES promoting the exploitation of women?
Wasn’t GONE WITH THE WIND too kind to slavery?
Don’t get me wrong, I love all these movies, but I think the Oscars should be about quality achievement not politics. The Oscars would have nothing to be ashamed of if they had rewarded TRIUMPH OF THE WILL. As you inadvertently point out, everyone already knows it was the BEST PICTURE of that year anyway.
LETTERS FROM IWO JIMA is a product of Hollywood and now that it is going into wide release will ironically most likely outgross FLAGS OF OUR FATHERS.
What should have us concerned is the nomination and box office success of the Al Gore documentary AN INCONVENIENT TRUTH. Why are we buying tickets for party platform power point presentations anyway?
The Oscars were designed as a way for studios to publicise their movies and stars. That was always their purpose.
That fact that so many years later they are still the big prize is credit to the fact they are not afraid to recognise some amazing non-Hollywood “product” (DAYS OF GLORY, VOLVER) and include some movies that count on Oscar to justify their wide runs (BABEL, PAN’S LABYRINTH) that may otherise never get noticed outside the arthouses of Manhattan and Seattle.
Duke, I grew up watching many of those with my family in Miami including the later Spanish films with Joselito, Marisol and Sara Montiel. If you get a chance do pick up a book called MEXICAN MOVIES IN THE UNITED STATES by Rogelio Agrasanchez, Jr.
It is full of ad copy, poster art and anecdotes from that era and was written in English.
Thanks LM, I now recognise this as THE SCREENING ROOM where I saw GOSFORD PARK. It had old beat-up uncomfortable seats with several missing and I felt like I was sitting in a 42nd Street dive. Although it was booked for specialised films the filthy concession stand sold pizza, of all things.
“When (Ethel) Waters lived in Harlem she recalled that 125th street was still a ‘white boulevard’ and that the theatres on the street were segregated. ‘Colored people could only buy seats only in the peanut gallery in B.F. Keith’s Alhambra, and none at all in the other white show houses’. “
“Despite civil rights statues in northern cities that prevented racial segregation in theatres, the laws were rarely enforced and managers evaded the law. In 1905, two African Americans sued unsuccessfully when they were not permitted to buy tickets to New York’s Circle Theatre. On another occasion black patrons who obtained orchestra tickets were prevented from sitting in the white-reserved section when the manager broke the seats and ordered them to sit in the gallery. Racial segregation in the big-time venues as well as prejudice against black performers contrasted with the circuits’ publicity which celebrated vaudeville as a ‘democratic’ entertainment open to everyone.
“When (Ethel) Waters lived in Harlem she recalled that 125th street was still a ‘white boulevard’ and that the theatres on the street were segregated. ‘Colored people could only buy seats only in the peanut gallery in B.F. Keith’s Alhambra, and none at all in the other white show houses’. “
“Despite civil rights statues in northern cities that prevented racial segregation in theatres, the laws were rarely enforced and managers evaded the law. In 1905, two African Americans sued unsuccessfully when they were not permitted to buy tickets to New York’s Circle Theatre. On another occasion black patrons who obtained orchestra tickets were prevented from sitting in the white-reserved section when the manager broke the seats and ordered them to sit in the gallery. Racial segregation in the big-time venues as well as prejudice against black performers contrasted with the circuits’ publicity which celebrated vaudeville as a ‘democratic’ entertainment open to everyone."
Lanza was under contract to MGM and notoriously difficult to work with. He was always involved in battles at MGM with Louis B. Mayer, directors and stars. It was agreed that only his voice would be used in THE STUDENT PRINCE in order to keep him off the set and further projects at the studio. THE VAGABOND KING was a Paramount film and SEVEN HILLS OF ROME was filmed in Italy and away from the MGM lot while he was possibly already ill.
That compromise on THE STUDENT PRINCE was part of an agreement to lift an injuction against Mario Lanza by MGM for walking off the set and costing the studio a fortune.
You can find out more about the Mario Lanza battles in the Charles Higham book MERCHANT OF DREAMS: LOUIS B. MAYER, MGM AND THE SECRET HOLLYWOOD including Mayer’s purchase of the Rivoli, and eventually other United Artists theatres, in defiance of the Paramount Consent Decrees.
I can’t imagine the owners expecting black audiences to fill the balcony of SYMPHONIE PASTORAL but perhaps the French owner thought all American theatres were segregated and prepared himself for this.
Let us not forget that most American troops were segregated during the war (unlike in the movies) and NYC was hardly a bastion of freedom for black people. In 1951 The Stork Club refused to serve Josephine Baker and unofficial “no-go” areas can still be found today.
This is no “cosmopolitan gentrified” Harlem neighborhood. Domino park has been the gathering spot for politicised anti-Castro retirees for years including many Bay of Pig veterans and more recently, anti-Sadinista activists.
I see no shame in this fact as many Miami exiles share those feelings. Most recently the center of this movement has moved to the younger and more vocal crowds that hang out at the popular Versailles Restaurant on Calle Ocho and 36th Street. Even president Bush has visited that location where effigies of Castro and Chavez have been burned.
I grew up in this neighborhood and am a Cuban-American and that park helped define the Tower’s audience for years. Movies from Cuba were not welcomed at the Tower although they play other South Florida neighborhoods without incident.
The first run was at the Penthouse (Gotham) and the R rated wide release was at Loews State and Movieland Yonkers. Hollywood, were you in Yonkers around 1981?
I do remember those marquees being quite large but then I was also smaller then. I know what Harvey means about things looking smaller as you get older. Since each title letter was about a foot tall with extra copy about half that and a blank row in between, that should give you some perpective.
They were able to fit wording that mentioned taglines, stars, and air conditioning so I guess they were huge by today’s standards. I seem to recall the 27th Ave and the Golden Glades Twin drive-in being very dramatic.
Stage, this would have been either Wynwood or Allapattah, most likely the latter. I show the Strand closed in the mid fifties and may served a blak community displaced by 1-95 eminient domain.
Going back to my post of April 19, 2006, there was an Avenue A theatre on 51 Avenue A already showing movies by 1918 and still going in 1923. I propose either there were two Avenue A theatres or the Hollywood and the Avenue A were not the same.
Ed, I can’t find any proof that this sight was ever operating as that although it may very well have done so as a porn site.
It is also quite possible that the Big Apple named the screens Cine-1 and Cine-2 once you went inside. This was not rare in the mini cinema era.
HARD TO KILL and THE ROOKIE played first run at the City Cinema West Side (aka Agee, Cine, Show Follies).
My understanding is that as distributors starting buying stakes back into exhibition in the early 80’s the government looked the other way and the Reagan administration eventually eliminated any remaining constraints for vertical integration in the entertainment business, making the Viacoms and Time Warners of the world possible.
I think this was a converted storefront and possibly also the illusive Frisco.
mjc, the Marquee magazine anniversary issue mentioned in previous posts does include a shot of the projectors.
I have seen AN INCONVENIENT TRUTH. It has an important message but I don’t think it is a particularly good film. As a visual educator and entertainment medium, HAPPY FEET did a much better job in sending the same message.
The Oscars should be about good filmmaking, not content. Movie history is littered with politically incorrect films, some good, some not so good. The Oscars have been quite good at rewarding good filmmaking even when the film was not politically balanced for the times. This has resulted in controversy over films such as THE DEER HUNTER, HEARTS AND MINDS, MIDNIGHT COWBOY, JULIA and FAHRENHEIT 911 which upset many in their day but were rewarded anyway.
I am sure many veterans of the Great War found ALL QUIET ON THE WESTERN FRONT as offensive as some will find LETTERS FROM IWO JIMA. I personally recall the outrage every time Jane Fonda or Venessa Redgrave were rightfully rewarded regardless of their personal endeavors.
Getting it right?
Wasn’t ALL QUIET ON THE WESTERN FRONT about the poor German soldiers getting a beating in WWI?
Was THE DEER HUNTER a good message to send Vietnam veterans?
Weren’t GIGI, MY FAIR LADY, THE APARTMENT and TOM JONES promoting the exploitation of women?
Wasn’t GONE WITH THE WIND too kind to slavery?
Don’t get me wrong, I love all these movies, but I think the Oscars should be about quality achievement not politics. The Oscars would have nothing to be ashamed of if they had rewarded TRIUMPH OF THE WILL. As you inadvertently point out, everyone already knows it was the BEST PICTURE of that year anyway.
LETTERS FROM IWO JIMA is a product of Hollywood and now that it is going into wide release will ironically most likely outgross FLAGS OF OUR FATHERS.
What should have us concerned is the nomination and box office success of the Al Gore documentary AN INCONVENIENT TRUTH. Why are we buying tickets for party platform power point presentations anyway?
I don’t understand.
The Oscars were designed as a way for studios to publicise their movies and stars. That was always their purpose.
That fact that so many years later they are still the big prize is credit to the fact they are not afraid to recognise some amazing non-Hollywood “product” (DAYS OF GLORY, VOLVER) and include some movies that count on Oscar to justify their wide runs (BABEL, PAN’S LABYRINTH) that may otherise never get noticed outside the arthouses of Manhattan and Seattle.
Duke, I grew up watching many of those with my family in Miami including the later Spanish films with Joselito, Marisol and Sara Montiel. If you get a chance do pick up a book called MEXICAN MOVIES IN THE UNITED STATES by Rogelio Agrasanchez, Jr.
It is full of ad copy, poster art and anecdotes from that era and was written in English.
This theatre was located on Coral Way and Galloway Road.
Yes, the Wometco was at 163rd Street.
Thanks LM, I now recognise this as THE SCREENING ROOM where I saw GOSFORD PARK. It had old beat-up uncomfortable seats with several missing and I felt like I was sitting in a 42nd Street dive. Although it was booked for specialised films the filthy concession stand sold pizza, of all things.
I never went back.
“When (Ethel) Waters lived in Harlem she recalled that 125th street was still a ‘white boulevard’ and that the theatres on the street were segregated. ‘Colored people could only buy seats only in the peanut gallery in B.F. Keith’s Alhambra, and none at all in the other white show houses’. “
“Despite civil rights statues in northern cities that prevented racial segregation in theatres, the laws were rarely enforced and managers evaded the law. In 1905, two African Americans sued unsuccessfully when they were not permitted to buy tickets to New York’s Circle Theatre. On another occasion black patrons who obtained orchestra tickets were prevented from sitting in the white-reserved section when the manager broke the seats and ordered them to sit in the gallery. Racial segregation in the big-time venues as well as prejudice against black performers contrasted with the circuits’ publicity which celebrated vaudeville as a ‘democratic’ entertainment open to everyone.
from VAUDEVILLE WARS by ARTHUR FRANK WERTHEIM
“When (Ethel) Waters lived in Harlem she recalled that 125th street was still a ‘white boulevard’ and that the theatres on the street were segregated. ‘Colored people could only buy seats only in the peanut gallery in B.F. Keith’s Alhambra, and none at all in the other white show houses’. “
“Despite civil rights statues in northern cities that prevented racial segregation in theatres, the laws were rarely enforced and managers evaded the law. In 1905, two African Americans sued unsuccessfully when they were not permitted to buy tickets to New York’s Circle Theatre. On another occasion black patrons who obtained orchestra tickets were prevented from sitting in the white-reserved section when the manager broke the seats and ordered them to sit in the gallery. Racial segregation in the big-time venues as well as prejudice against black performers contrasted with the circuits’ publicity which celebrated vaudeville as a ‘democratic’ entertainment open to everyone."
from VAUDEVILLE WARS by ARTHUR FRANK WERTHEIM
The American Film Institute Desk Reference also backs this up but what the hell do they know.
Lanza was under contract to MGM and notoriously difficult to work with. He was always involved in battles at MGM with Louis B. Mayer, directors and stars. It was agreed that only his voice would be used in THE STUDENT PRINCE in order to keep him off the set and further projects at the studio. THE VAGABOND KING was a Paramount film and SEVEN HILLS OF ROME was filmed in Italy and away from the MGM lot while he was possibly already ill.
That compromise on THE STUDENT PRINCE was part of an agreement to lift an injuction against Mario Lanza by MGM for walking off the set and costing the studio a fortune.
You can find out more about the Mario Lanza battles in the Charles Higham book MERCHANT OF DREAMS: LOUIS B. MAYER, MGM AND THE SECRET HOLLYWOOD including Mayer’s purchase of the Rivoli, and eventually other United Artists theatres, in defiance of the Paramount Consent Decrees.
Really? Take a black friend for a drink at a Bay Ridge Bar at night.
I can’t imagine the owners expecting black audiences to fill the balcony of SYMPHONIE PASTORAL but perhaps the French owner thought all American theatres were segregated and prepared himself for this.
Let us not forget that most American troops were segregated during the war (unlike in the movies) and NYC was hardly a bastion of freedom for black people. In 1951 The Stork Club refused to serve Josephine Baker and unofficial “no-go” areas can still be found today.
I beg to differ.
This is no “cosmopolitan gentrified” Harlem neighborhood. Domino park has been the gathering spot for politicised anti-Castro retirees for years including many Bay of Pig veterans and more recently, anti-Sadinista activists.
I see no shame in this fact as many Miami exiles share those feelings. Most recently the center of this movement has moved to the younger and more vocal crowds that hang out at the popular Versailles Restaurant on Calle Ocho and 36th Street. Even president Bush has visited that location where effigies of Castro and Chavez have been burned.
I grew up in this neighborhood and am a Cuban-American and that park helped define the Tower’s audience for years. Movies from Cuba were not welcomed at the Tower although they play other South Florida neighborhoods without incident.
JWX, the theatre near Sergios was the Twin Gables, later the Gables Triple.
There is one listed in 1934 edition with 250 seats.